Download PDF by Konstantin Stanislavski, Jean Benedetti: An actor's work on a role

By Konstantin Stanislavski, Jean Benedetti

ISBN-10: 0203870921

ISBN-13: 9780203870921

ISBN-10: 0415461294

ISBN-13: 9780415461290

 An Actor’s paintings on a Role is Konstantin Stanislavsky’s vintage exploration of the practice session method, utilizing the ideas of his seminal actor education process to the duty of bringing existence and fact to one’s function.

Originally released over part a century in the past as Creating a Role, this ebook turned the 3rd in a trilogy – after An Actor Prepares and Building a Character, that are now mixed in a newly translated quantity known as An Actor’s Work. In those books, now foundational texts for actors, Stanislavsky units out his mental, actual and sensible imaginative and prescient of actor training.

This new translation from well known author and critic Jean Benedetti not just contains Stanislavski’s unique teachings, yet can also be provided with worthwhile supplementary fabric within the form of transcripts and notes from the rehearsals themselves, reconfirming The method because the cornerstone of actor education.

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Example text

I am your man forever. Title: the sentence. Task: confide a terrible secret that it is difficult to admit to oneself. Explanation: the decision has been made but it is so terrible we do not dare put it into words, we want to express it by the eyes. This is the terrible secret a man confides to another, mysteriously, between heaven and earth. They mostly speak with their eyes. othello 1930–1932 Here is the actor’s plan for this scene: A (I) B (II) C (III) D (IV) E (V) Resolve the problem: why? Flee from Iago.

Othello 1930–1932 Bit G (VII) Death and damnation! . . . too weak for my revenge. Title: investigator. Task: I want to understand. Fume, but that would not be good for the gradual changes of colour. , Monstrous! Monstrous! ’ You must understand that this is not because of an established fact but a suspicion. That is enough to encourage Iago to continue. These outbursts are not the most important element in Othello’s performance, but what happens while Iago is speaking? He listens avidly and that, naturally, encourages Iago to go on.

But Rodrigo continued. Other means had to be found. Servants were sent to chase him away. They did not stand on ceremony: they pelted him with orange peel and kitchen scraps and other rubbish. Rodrigo took it all patiently. But then, one evening, he saw Desdemona in her gondola going along the darkened canal, and going past her threw a large bouquet of flowers and a madrigal he had composed into her boat. But – horror! – Desdemona did not glance at him but with her own hands threw the flowers and the madrigal into the water and, turning away angry-faced, lowered her veil.

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An actor's work on a role by Konstantin Stanislavski, Jean Benedetti

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